Kenny Garrett - Seeds From The Underground

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 70:04
Size: 190,0 MB
Art: Front

(9:03)  1. Boogety Boogety
(6:26)  2. J. Mac
(7:37)  3. Wiggins
(7:27)  4. Haynes Here
(4:21)  5. Detroit
(8:08)  6. Seeds From The Underground
(8:16)  7. Du-Wo-Mo
(8:43)  8. Welcome Earth Song
(6:22)  9. Ballad Jarrett
(3:38) 10. Laviso, I Bon?

Kenny Garrett is one of the most respected and frequently imitated saxophonists in the jazz world, but he might not have reached his full potential if not for those who guided him and showed him the way. While some musicians try to rewrite history when they make it big, turning their backs on the nurturing forces and influential individuals that kept them on the righteous path, Garrett doesn't fall into that category. He gives credit where credit is due, and Seeds From The Underground is the proof. Garrett wrote ten musical "thank you" notes for this project, which honors his family, friends, mentors and musical influences. While the songs run the gamut from subdued to explosive, the most impressive material is the edgy, late '60s-influenced fare. Garrett's pianist the underexposed Benito Gonzalez puts a Latin-inflected, postmodern slant on the McCoy Tyner sound, and drummer Ronald Bruner Jr. is relentless, driving the music with punchy fills and on-top-of-the-beat cymbal work. This pairing proves to be potent, and both men can be seen as the combinatorial impetus behind Garrett's most aggressive and outspoken playing. 

Two prime examples come in the form of a hard hitting nod to saxophone maverick Jackie McLean ("J. Mac") and a waltzing tribute to drummer Roy Haynes ("Haynes Here"), but others are scattered throughout. While these men, along with the balancing force, bassist Nat Reeves, paint vivid pictures, two other individuals add extra splashes of color. Nedelka Prescod's wordless vocals help to magnify the emotional intensity in the music ("Detroit"), and percussionist Rudy Bird adds some spice to the Latin-inflected numbers and pan-global performances. While all of these diverse personalities come together in fine fashion, it's Garrett's saxophone that garners the most attention. He can be sunny and playful ("Boogety Boogety"), brash and bold ("J. Mac") or wistful and pensive ("Ballad Jarrett"), but he always displays a melodic bent in his playing, regardless of the mood. That, more than anything else, will likely draw attention toward this record. ~ Dan Bilaswsky  http://www.allaboutjazz.com/seeds-from-the-underground-kenny-garrett-mack-avenue-records-review-by-dan-bilawsky.php#.U_iy82MfLP8
 

Personnel: Kenny Garrett: alto saxophone, soprano saxophone, piano; Nat Reeves: bass; Ronald Bruner: drums; Rudy Bird: bata, percussion; Nedelka Prescod: vocals.

Seeds From The Underground

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Al Grey - The New Al Grey Quintet

Bitrate: 320K/s
Time: 61:27
Size: 140.7 MB
Styles: Bop, Trombone jazz
Year: 1988/1995
Art: Front

[4:59] 1. Bluish Grey
[4:57] 2. Sonny's Tune
[6:04] 3. Don't Blame Me
[5:44] 4. Syrup And Bisquits
[5:16] 5. Taint No Use
[3:05] 6. Al's Rose
[2:19] 7. Night And Day
[5:41] 8. Call It Whatchawanna
[5:45] 9. Underdog
[3:21] 10. Stompin' At The Savoy
[4:14] 11. Al's Blues
[6:32] 12. Rue Prevail
[3:24] 13. Soap Gets In Your Eyes

Veteran trombonist Al Grey leads an unusual quintet on this set from 1988 that, in addition to drummer Bobby Durham, features the sons of Al Cohn (guitarist Joe Cohn), Gerald Wiggins (bassist J.J. Wiggins), and his own Mike Grey on second trombone. The two trombonists have similar sounds, with the elder Grey getting the bulk of the solos. The repertoire mixes together swing standards with lesser-known jazz tunes by Thad Jones, Sonny Stitt, Hank Mobley, Al Cohn, Johnny Griffin, Art Farmer, and Al Grey himself. The relaxed straight-ahead music flows nicely and all of the musicians (other than Durham) have their opportunities to be featured. Worth searching for. ~Scott Yanow

The New Al Grey Quintet

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Terri Krul - In The Still Of The Night

Bitrate: 320K/s
Time: 41:22
Size: 94.7 MB
Styles: Vocal jazz, Easy Listening
Year: 2014.
Art: Front

[2:40] 1. In The Still Of The Night
[4:13] 2. Come Rain Or Come Shine
[3:42] 3. Fly Me To The Moon
[3:38] 4. I'll Be Seeing You
[3:55] 5. Night And Day
[3:17] 6. The Nearness Of You
[2:55] 7. Misty
[3:02] 8. A Sailboat In The Moonlight
[3:31] 9. I Don't Know Enough About You
[2:33] 10. Why Don't You Do Right
[4:41] 11. You Don't Know Me
[3:09] 12. All Right, Okay (You Win)

Terri Krul is a professional jazz and blues vocalist. If the event you’re planning needs music and style to make it memorable, don't settle for any other. Big band jazz will NEVER be out style and is perfect for any occasion. A talented song stylist with an unforgettable voice, Ms. Krul performs some of the greatest songs of all time -- in the great tradition of jazz.

Terri has completed here new album, In the Still of the NIght, which will include original arrangements by producer/pianist, Tad Sisler and musician Andrew Fraga, Jr, and instrumentals by Michael Higgins (guitar) and grammy-award-winning Glen Myerscough (flute/saxophone). Add to the mix the expertise of the multi-talented arranger/guitarist, Peter Sprague, producer Marti Amado, and fabulous engineer, Mike Harris, and the outcome is a jazz hit! The album features favorites such as "Come Rain or Shine" and "In the Still of the Night."

In The Still Of The Night

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Erroll Garner - Mambo Moves Garner

Bitrate: 320K/s
Time: 51:47
Size: 118.5 MB
Styles: Swing, Piano jazz
Year: 1954/1991
Art: Front

[6:29] 1. Mambo Garner
[4:03] 2. Night And Day
[4:53] 3. Mambo Blues
[5:20] 4. That Old Black Magic
[3:51] 5. Cherokee
[3:53] 6. Sweet And Lovely
[3:23] 7. Russian Lullaby
[4:39] 8. Begin The Beguine
[4:09] 9. Mambo Nights
[7:29] 10. Sweet Sue
[3:34] 11. Imagination

For this lengthy session, pianist Erroll Garner added a conga player (Candido) to his trio (which includes bassist Wyatt Ruther and drummer Eugene Heard) for the first time. Throughout the remainder of his career he would occasionally play in the Latin idiom. This CD reissue (which adds two songs from the same session to the original LP program) finds the pianist in typically enthusiastic form and the highlights include "Mambo Garner," "Night and Day," "Cherokee" and "Sweet Sue." ~Scott Yanow

Mambo Moves Garner

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Gary Peterson - Squeeze Me: Ragtime Guitar And Other Oldies

Bitrate: 320K/s
Time: 30:56
Size: 70.8 MB
Styles: Folk-blues guitar, Ragtime
Year: 2010
Art: Front

[2:25] 1. Maple Leaf Rag (Version 1)
[1:58] 2. Deep River Blues
[3:40] 3. Stagolee
[1:49] 4. Cincinnati Flow Rag
[2:01] 5. Mable's Dream
[3:14] 6. Nobody Knows You When You're Down And Out
[2:00] 7. Squeeze Me
[1:59] 8. Maple Leaf Rag [Version 2]
[4:09] 9. Frankie And Johnny
[2:03] 10. Devil's Dream
[2:32] 11. Happy Meeting In Glory
[3:01] 12. I Could Walk A Mile

This was my first solo guitar album after being a musician in London for five years, prior to my move to Paris. My highly coordinated and speedy fingers made me a natural for the finger-picking style on this

album. This CD includes one original composition, "I Could Walk a Mile," as well as ragtime, blues, folk, and other oldies like, "When You're Down and Out."

Squeeze Me: Ragtime Guitar And Other Oldies

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Jane Harvey - All For You

Styles: Jazz, Vocal
Year: 2012
File: MP3@320K/s
Time: 36:49
Size: 84,7 MB
Art: Front

(4:01)  1. Ticket To Ride
(3:37)  2. Cabaret
(3:10)  3. Sway
(3:34)  4. Bring Him Home
(3:37)  5. Perfect
(3:13)  6. Use Somebody
(3:04)  7. Can't Take My Eyes Off You
(5:05)  8. Over The Rainbow
(3:50)  9. Summer Of 69
(3:33) 10. Make You Feel My Love

All For You

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Jeff Hamilton - If Dreams Come True

Styles: Jazz, Mainstream Jazz
Year: 2007
File: MP3@320K/s
Time: 75:54
Size: 180,1 MB
Art: Front

(3:04)  1. Rosetta
(4:29)  2. I Surrender Dear
(3:24)  3. If I Were You
(3:47)  4. Moon Country
(4:07)  5. I Wished On The Moon
(4:54)  6. No One Can Take Your Place
(3:14)  7. Liza
(3:14)  8. My Ideal
(3:49)  9. Don't Be That Way
(4:38) 10. Here's That Rainy Day
(4:10) 11. What Is This Thing Called Love?
(4:04) 12. Charmaine
(5:11) 13. B.C. Blues
(5:11) 14. If Dreams Come True
(5:03) 15. Till There Was You
(4:12) 16. My Silent Love
(4:04) 17. Exactly Like You
(5:11) 18. Isle Of Capri

One evening at Chautauqua, after the musical festivities had concluded, I found Hamilton and Barrett chatting around a piano. After the usual banter, Hamilton sat down on the bench, played a good chunk of an up-tempo rag and then turned to some expert, subtle classical playing. Both performances were light-hearted, but they revealed him as a highly accomplished pianist. His quirky sense of humor is best displayed on the second CD's cover picture, which I won't attempt to describe, and its subtitle: Jazz piano exclusively for solo synchronized swimming, an idea whose time may not have come.) I was greatly impressed with Hamilton's pianistic skills that night, but I had no opportunity to hear him improvise in a jazz context until now. Happily for all of us, If Dreams Come True would prove to anyone that he is as fine a jazz pianist as he is a drummer, and that's saying something. 

His solo showpieces, Liza, and Rosetta, both pieces close to Teddy Wilson's heart, reveal an irrepressible swing, wonderfully steady tempos (solo piano is difficult for all but the finest players to keep their compass), a light touch, and an ability to invent dancing alternative melodies that make familiar material seem fresh. Hamilton's stride playing has a powerful onward momentum, but he isn't ever overbearing. He isn't copying the records, but improvising on the tradition and bringing his own flavorings to it. Fittingly, the notes to this CD are by that satisfyingly idiosyncratic pianist Ray Skjelbred. Perhaps the finest testimony to Hamilton's mastery is how he plays well with others: how his playing offers a feeling commentary on Becky Kilgore's creamy, melting My Ideal, creating one of those lovely miniatures that I wanted to play several times before moving on to the next track. His CD presents one stirring, understated but compelling performance after another, primarily duets between Hamilton and a horn player, as well as three trio outings. On one, Eddie Erickson, Dan Barrett and Jeff Hamilton do Till There Was You, with Erickson superbly wistful, crooning his heart out. It is more evidence that Erickson is our Sinatra; I wait for someone to record him with a string quartet. Barrett, Kilgore, and Hamilton create a jaunty If I Were You, with the true 1938 Vocalion spirit. Kilgore, Bobby Gordon and Hamilton take off on the title track, which perhaps should be called When, not If, because this CD succeeds so well. Special mention should go to Hamilton's stepfather, the clarinetist Bill Carter: on his blues, Carter creates a questing, worrying, sometimes querulous castle of sound -- not an imitation of Pee Wee Russell but worthy of him. 

And, in the same breath, Bobby Gordon's walking Charmaine is a superb matching of materials and musician. (On this track and on My Silent Love, Hamilton's rubato opening chorus so tenderly defines the melodic line, something not easy to do.) RAG readers have had two decades to appreciate Dan Barrett's gifts, so I will say only that this CD finds him in plush form, with just the right emotional depth for each performance: a dark, melancholy Here's That Rainy Day, a clipped, witty cornet exploration of Don't Be That Way, and a version of No One Else Can Take Your Place, deep and simple at once. Both Hamilton CDs are delicious auditory evidence of the way the finest jazz musicians play when in front of small, sympathetic audiences. Or, perhaps this is the way they play for themselves: subtle, knowing, enthusiastic, and full of feeling. These discs contain extraordinarily gratifying examples of jazz that is rarely, if ever, captured in recording studios. . I hope Jeff Hamilton gets many more opportunities to make discs like this, on whatever instruments he chooses. 

~ Mississippi Rag March 2008 by Michael Steinman ~ Editorial Reviews  http://www.amazon.com/Dreams-Come-True-Jeff-Hamilton/dp/B000R9RIUE

If Dreams Come True

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Joshua Redman - Trios Live

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 58:03
Size: 133,2 MB
Art: Front

(12:02)  1. Mack the Knife
( 6:38)  2. Never Let Me Go
( 6:43)  3. Soul Dance
(12:25)  4. Act Natural
( 7:37)  5. Mantra #5
( 5:58)  6. Trinkle, Tinkle
( 6:36)  7. The Ocean

Upholding the legacy of his namesake, saxophonist Joshua Redman son of the great Dewey Redman has continued to develop as a leader in jazz since the 1990's. He's created a name as a consummate artist through rigorous work that's involved a previous directorship of SFJAZZ, constant tours and over a dozen recordings. At times criticized for not emulating his father's passion, recordings such as his 2013 jazz-with-strings project Walking Shadows (Nonesuch) resulted in a beautiful studio release that was at times unengaging. But make no mistake because Redman's definitely got the fire and burns hot as coals in Trios Live which captures the essence of his unbridled abilities as musician and performer. It was recorded at two venues with different trios Redman and drummer Gregory Hutchinson with bassist Matt Penman at New York City's Jazz Standard and bassist Reuben Rogers at Washington, DC's Blues Alley. Dedicated to the fans that've come out to hear Redman play over the years, these live performances in 2009 and 2013 possess a spirit that surpass many of his studio dates with its spontaneous urgency. Four originals and three covers including a persuasive interpretation of Led Zeppelin's "The Ocean." 

Redman is in his element. The standard "Mack the Knife" bops, skips and twists as saxophone opens with a gorgeous solo full of breath and nuance. He engages the audience with talented showmanship who respond appreciatively to feverish runs, soft lines, playful banter and the music's improvised dialog. Yet this is not just about Redman as the other trio members more than hold their own with flawless timing, flexibility, and moments such as Hutchinson's gentle brush of cymbals in "Never Let Me Go" and synchronous fireworks with Redman in the 12 minute burner "Act Natural" as Reuben Rogers holds the line. While Thelonious Monk's "Trinkle, Tinkle" is done justice it's the trio's cover by an iconic English rock band that steals the show when Led Zeppelin's "The Ocean" is transformed from power rock to hard groove. Redman improvises the guitar riff with punctuated spurts and runs fueled by Hutchinson's beats and Matt Penman's funky bass line. The musicians jam freely and the crowd at the Jazz Standard react with wild applause dispelling the myth that you can't party to jazz music.             

~ Mark F.Turner  http://www.allaboutjazz.com/trios-live-joshua-redman-nonesuch-records-review-by-mark-f-turner.php#.U_ddLmMfLP8
 

Personnel: Joshua Redman: tenor saxophone (1, 2, 4, 6, 7), soprano saxophone (3, 5); Matt Penman: bass (1, 5–7); Reuben Rogers: bass (2–4); Gregory Hutchinson: drums.

Trios Live

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Jack Jezzro - Western Swing

Styles: Country, Swing

Year: 1996
File: MP3@320K/s
Time: 41:09
Size: 95,0 MB
Art: Front

(2:51)  1. San Antonio Rose
(2:15)  2. Across The Alley From The Alamo
(3:14)  3. Blues For Dixie
(3:14)  4. Red Wing
(2:46)  5. Westphalia Waltz
(2:42)  6. Oklahoma Hills
(3:40)  7. South Of The Border
(3:35)  8. Deep In The Heart Of Texas
(3:32)  9. Back In The Saddle Again
(2:32) 10. Roly Poly
(3:00) 11. La Golandrina
(2:25) 12. Under The Double Eagle
(5:15) 13. Faded Love/ Maiden's Prayer

Inspired by the timeless music of Bob Wills, this recording highlights the Western Swing genre with musical perfection. Some describe Western Swing as being somewhere between Country-Western and Big Band Swing. Diversity best describes the artistry of guitarist, bassist, and producer Jack Jezzro. His recordings and productions have sold well into the millions, and he surely ranks high in formal education, knowledge of his instrument, and sheer musicality. But even more than that, Jezzro has a style and taste that are all his own qualities that are a breath of fresh air to the music of today and qualities that breathe new life into the music of yesterday. 

The Early Years Jazz is a natural expression for this West Virginia native, who seems to have been born musical. Jack Jezzro grew up in the small town of Rivesville, starting on piano and accordion when he was very young. "I would go to the piano and start banging out tunes when I was four or five," he recalls. His remarkable skill at simultaneously fingering melody and chord changes came naturally to him as a young listener. "I had a stack of Chet Atkins records, and that’s how I learned to play," Jezzro reports. "As a kid, I’d want to play all the parts. I’d listen to a tune by James Taylor, The Doobie Brothers, Simon & Garfunkel, or whomever. 

I’d play the bass part, the piano, the vocal and I’d want to do it all right there on the guitar."  Education For his bass-playing skills, Jezzro earned a scholarship to West Virginia University in nearby Morgantown. "I still kept playing guitar, but they didn't have a guitar program," he says. "I wanted to go to school there because it was close by, so I picked the bass and really got into it." The year was 1976. "That fall, the Pittsburgh Symphony Orchestra came to Morgantown, and I got to meet the principal bass player, Sam Hollingsworth. We immediately hit it off." Hollingsworth took Jezzro under his wings, preparing him for a professional career. More.....http://www.cdbaby.com/cd/jezzrojack

Personnel: Jack Jezzro (guitar); Gregg Galbraith (guitar); Paul Franklin , Buddy Emmons (steel guitar); Buddy Spicher (fiddle); Kristin Wilkinson, Pamela Sixfin, David Davidson (strings); Beegie Adair, Hargus "Pig" Robbins (piano); Larry Paxton (bass instrument); Bob Mater (drums).

Western Swing

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João Donato - So Danco Samba

Bitrate: 320K/s
Time: 46:20
Size: 106.1 MB
Styles: Latin jazz
Year: 2006
Art: Front

[2:34] 1. So Danco Samba
[3:40] 2. Corcovado
[3:15] 3. Samba De Uma Nota So
[4:05] 4. Caminhos Cruzados
[2:39] 5. Garota De Ipanema
[3:02] 6. Vivo Sonhando
[4:02] 7. Meditacao
[2:53] 8. Fotografia
[3:50] 9. Amor Em Paz
[3:13] 10. Ela E Carioca
[3:54] 11. Outra Vez
[3:03] 12. Brigas Nunca Mais
[3:14] 13. Triste
[2:49] 14. Wave

João Donato de Oliveira Neto is a Brazilian jazz and bossa nova pianist from Brazil, probably best known for his numerous albums as bandleader in the idiom. He first worked with Altamiro Carrilho, and went on to perform with other masters of the idiom such as Tom Jobim, Astrud Gilberto, as well as a host of others.

João Donato de Oliveira Neto was born in Rio Branco, the capital of the state of Acre, Brazil, on August 17, 1934. His father, also called João Donato, was a pilot and in his leisure hours liked to play the mandolin at home. His mother sang and the eldest sister, Eneyda, turned out to be a pianist. The youngest, Lysias, was more inclined to letters and became the main partner in his brother’s compositions.

So Danco Samba

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Eilen Jewell - 2 albums: Sea Of Tears / Queen Of The Minor Key

Eilen Jewell is the queen of the minor key. Sad songs are her wealth and finery. The Idaho native’s unique originals feature a blend of influences from early blues, rockabilly and surf-noir, to 1960s era rock and roll. The Los Angeles Daily News wrote, “Sometimes as darkly damaged as Lucinda Williams, at others as defiant and teasing as prime Peggy Lee and always authentically Americana in the Gillian Welch tradition…. She’s mighty good.” The Word in the UK described Jewell as “A voice of real distinction [that] manages to transcend some powerful influences and pierce the fog long enough for her own point of view to emerge.”

She and her band tour relentlessly, regularly selling out venues around the world. Jewell’s tour dates span from North America to Western Europe, New Zealand and Australia. She has shared the stage with Lucinda Williams, Mavis Staples, George Jones, Emmylou Harris, Blind Boys of Alabama, Chris Smither, and Junior Brown. Eilen’s music has been heard on NPR, XM-Sirius, and the BBC. She has also received airplay in Canada, Australia, Spain, Holland, and Germany. TV shows Sons of Anarchy and True Blood have featured Eilen’s music as well as commercials such as T-Mobile’s Fast Songs national TV campaign. Hollywood stars (Tom Hanks in Entertainment Weekly) to heads of state (British Prime Minister David Cameron in Britain’s Telegraph) have praised Eilen’s music in the press.

Jewell is currently recording her fifth, full-length, solo album with her long-time road band of Jerry G. Miller (named instrumentalist of the year the past two years in a row), husband and drummer Jason Beek, and slapping upright bass player Johnny Sciascia.

Album: Sea Of Tears

Bitrate: 320K/s

Time: 38:12

Size: 87.5 MB

Styles: Blues, Pop, Jazz, Roots

Year: 2009

Art: Front

[2:46] 1. Rain Roll In

[3:07] 2. Sweet Rose

[3:00] 3. Shakin' All Over

[2:42] 4. Sea Of Tears

[3:39] 5. Fading Memory

[3:05] 6. Nowhere In No Time

[3:59] 7. I'm Gonna Dress In Black

[3:53] 8. One Of Those Days

[2:57] 9. Final Hour

[2:28] 10. The Darkest Day

[2:53] 11. Everywhere I Go

[3:36] 12. Codeine Arms

Sea Of Tears 

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Album: Queen Of The Minor Key

Bitrate: 320K/s

Time: 37:47

Size: 86.5 MB

Styles: Blues, Pop, Jazz, Roots

Year: 2011

Art: Front

[1:35] 1. Radio City

[3:50] 2. I Remember You

[2:02] 3. Queen Of The Minor Key

[2:13] 4. That's Where I'm Going

[4:30] 5. Santa Fe

[2:29] 6. Warning Signs

[2:07] 7. Reckless

[3:59] 8. Over Again (Feat. Zoe Muth)

[1:43] 9. Bang Bang Bang

[2:26] 10. Hooked

[3:42] 11. Only One

[2:51] 12. Long Road

[2:55] 13. Home To Me (Feat. Big Sandy)

[1:18] 14. Kalimotxo

Queen Of The Minor Key  

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Mark Levine Trio - One Notch Up

Bitrate: 320K/s
Time: 66:28
Size: 152.2 MB
Styles: Piano jazz
Year: 1999
Art: Front

[6:52] 1. I Didn't Know What Time It Was
[7:49] 2. Up Jumped Spring
[4:50] 3. If There Is Someone Lovelier Than You
[7:41] 4. Ask Me Now
[6:35] 5. Pensativa
[6:21] 6. Low Key Lightly
[5:58] 7. Linda Chicana
[6:59] 8. One Notch Up
[7:53] 9. You Know I Care
[5:25] 10. After You

Veteran pianist Mark Levine has recorded infrequently, so this trio session is well worth the long wait. His varied program includes a rollicking "Up Jumped Spring," a jaunty version of Duke Ellington's infrequently played "Low Key Lightly," and a luscious "Ask Me Now." The tense title track, written by Mulgrew Miller, will keep listeners transfixed. Levine is also an accomplished composer, with his laid-back Latin-flavored "Linda Chicana" and constantly shifting "After You." ~Ken Dryden

One Notch Up

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Jacqui Naylor - Jacqui Naylor

Styles: Vocal Jazz
Year: 1999
File: MP3@320K/s
Time: 51:06
Size: 118,8 MB
Art: Front

(3:36)  1. Lazybones
(4:54)  2. Nocturne
(3:11)  3. What A Little Moonlight Can Do
(3:01)  4. I Love You So
(6:07)  5. Tell Me More & More & Then Some
(4:05)  6. May I Come In?
(2:49)  7. The Way You Look Tonight
(5:47)  8. I Cover The Waterfront
(4:30)  9. Something Cool
(3:26) 10. Embraceable You
(3:01) 11. Can't Help Singing
(3:44) 12. In The Wee Small Hours Of The Morning
(2:54) 13. Two Sleepy People

Another new bright entry in the vocal galaxy that covers the San Francisco Bay Area is Jacqui Naylor as she so ably demonstrates on her first album. Naylor immediately brings to mind the great Billie Holiday, whom she unabashedly admires. You can hear that poignancy of a wounded doe on such cuts as "I Cover the Waterfront" and "I Love You So." Her voice assumes light timbre on medium to up-tempo tunes such as "Two Sleepy People." This singer also has an unerring sense of rhythm, pitch and feel for the meaning of what she sings. She sways along on lilting, bouncing number as "Can't Help Singing" and "The Way You Look Tonight" and becomes innocently absorbing on "Something Cool." But what proves Naylor's singing so delightful and engaging is her understanding that the best way to put over a song is to sing it simply and straightforwardly. No swoops, hollers, grunts and other extraneous Babel on this CD. 

While this is Naylor's show, she gets outstanding help from her musicians who seem very tuned in to the mannerisms of the singer's style. Bob Johnson's smoky tenor helps set the stage for several of the tunes and adds an appropriate coda on others such as on a very pretty, world-weary "Nocturne." Other times his sax weaves in and around Naylor's voice, recalling the way Holiday and Lester Young meshed. Equally important contributions are made by steady pianist Andrew Ostwald, John Wiitala on bass and Tony Kaye's guitar. This is a fine first effort or second or third for that matter from this talented singer who showers special magic over a play list of familiar entries in the Great American Songbook as well on some less familiar material. Recommended. ~ Dave Nathan  http://www.allmusic.com/album/jacqui-naylor-mw0000597763

Jacqui Naylor

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Hans Theessink - Call Me

Styles: Blues Folk
Year: 2003
File: MP3@320K/s
Time: 49:48
Size: 116,7 MB
Art: Front

(3:31)  1. Late Last Night
(3:41)  2. Call Me
(2:55)  3. Mabellene
(3:28)  4. Lonely Days & Lonely Nights
(5:29)  5. Soul Of Song
(4:34)  6. Ain't Go No Home
(3:21)  7. Rock The Boat
(4:07)  8. New Orleans
(4:52)  9. The Planet
(3:40) 10. Bluesdoctor
(5:01) 11. Cuckoo
(5:08) 12. Sail On

For Call Me I invited Canadian producer Colin Linden as a co-producer. I had been playing a lot at festivals in N.America and wanted to invite some of the musicians and singers that I'd met on my travels. Most of the backing vocals were sung by the fantastic Bobby King & Terry Evans (wellknown from their work with Ry Cooder). With Maceo Parker, Pee Wee Ellis and Fred Wesley we had one of the funkiest horn sections in the universe. In addition we had Garth Hudson, Richard Bell and Rick Danko of "The Band", and South African sax-and pennywhistle wizzard Morris Goldberg on board. We worked at studios in Munich, Woodstock and Los Angeles, hauling the big old tapes around. The work on CALL ME was a beautiful experience and a few of my most requested songs are included on the album: My own "Call Me", "Rock The boat" and Chuck Berry's "Mabellene".  http://www.cdbaby.com/cd/hanstheessink

Call Me

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Christy Baron - Take The Journey

Bitrate: 320K/s

Time: 50:31

Size: 115.7 MB

Styles: Easy Listening, Jazz vocals

Year: 2002

Art: Front

[2:56] 1. Happy Together

[4:20] 2. Gentle Journey

[3:47] 3. Not While I'm Around

[3:46] 4. I'm All Smiles

[5:45] 5. A House Is Not A Home

[2:23] 6. Bitter With The Sweet

[3:52] 7. That Old Devil Moon

[3:52] 8. The Lies Of Handsome Men

[5:07] 9. You Are There Why Did I Choose You

[4:20] 10. The Way He Captured Me

[3:52] 11. Overjoyed

[3:22] 12. Stand Behind Me

[3:08] 13. First Day In August

A truly talented vocalist, Christy Baron brings us her third release entitled Take This Journey, again revealing an intriguing repertoire of modern classics delivered through her evocative voice. But it's not only the sound of her voice that captivates the audience … her ability to maintain the delicate balance between the musical and poetic ideas of both the composer and lyricist creates the kind of mood that prepares the listener for a simply wonderful journey. Take This Journey is a story, a reflection of life that captures the wonderful reality of the genuine interactions we share with the people around us. Christy's rendition of the Turtles' classic "Happy Together" sets the tone of the record with her sultry yet optimistic recording that is nothing less than convincing. The album features songs from Carole King including "Stand Behind Me" and "First Day in August," and an incisive version of "Bitter With The Sweet." Christy's clear vocalizations are apparent when she explains the sad fact that "A House Is Not a Home" and sets the limits in Sondheim's Sweeney Todd classic "Not While I'm Around." The darker side of life is apparent through Sinatra's classic "Old Devil Moon" and Cleo Lane's "The Lies of Handsome Men." But don't lose hope just yet … a captivating rendition of Stevie Wonder's "Overjoyed" showcases Baron's optimism in mankind. Christy Baron communicates the pleasure and the pain of our existence in Take This Journey, appealing to the intellectual listener with her sweet, knowing recognition of life's wonder.

Take The Journey

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Tommy Flanagan - Something Wonderful

Bitrate: 320K/s
Time: 35:09
Size: 80.5 MB
Styles: Piano jazz
Year: 2014
Art: Front

[4:04] 1. Hello Young Lovers
[4:00] 2. Getting To Know You
[5:22] 3. We Kiss In A Shadow
[6:05] 4. Shall We Dance
[2:36] 5. Something Wonderful
[4:41] 6. I Have Dreamed
[4:07] 7. I Whistle A Happy Tune
[4:11] 8. My Lord And Master

Known for his flawless and tasteful playing, Tommy Flanagan received long overdue recognition for his talents in the 1980s. He played clarinet when he was six and switched to piano five years later. Flanagan was an important part of the fertile Detroit jazz scene (other than 1951-1953 when he was in the Army) until he moved to New York in 1956. He was used for many recordings after his arrival during that era; cut sessions as a leader for New Jazz, Prestige, Savoy, and Moodsville; and worked regularly with Oscar Pettiford, J.J. Johnson (1956-1958), Harry "Sweets" Edison (1959-1960), and Coleman Hawkins (1961).

Flanagan was Ella Fitzgerald's regular accompanist during 1963-1965 and 1968-1978, which resulted in him being underrated as a soloist. However, starting in 1975, he began leading a series of superior record sessions and since leaving Fitzgerald, Flanagan has been in demand as the head of his own trio, consistently admired for his swinging and creative bop-based style. Among the many labels he has recorded for since 1975 are Pablo, Enja, Denon, Galaxy, Progressive, Uptown, Timeless, and several European and Japanese companies. For Blue Note, he cut Sunset and Mockingbird in 1998, followed a year later by Samba for Felix. Despite a heart condition, Flanagan continued performing until the end of his life, performing two-week stints at the Village Vanguard twice a year, recording and touring. He died on November 16, 2001, in Manhattan from an arterial aneurysm. ~bio by Scott Yanow

Something Wonderful

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Elliott Chavers - Rockhouse

Bitrate: 320K/s
Time: 44:04
Size: 100.9 MB
Styles: Soul-jazz
Year: 2009
Art: Front

[3:55] 1. Rockhouse
[3:08] 2. Funky Butt
[4:05] 3. Hard Times
[4:51] 4. That's Allright
[4:54] 5. Jazz My Blues
[4:02] 6. I Dont Want Much
[5:10] 7. Sundy Soul
[4:19] 8. One In A Million
[4:04] 9. Rock Me Baby
[5:31] 10. Soul Serenade

ELLIOTT CHAVERS a Saxophonist, Jazz and Blues Vocalist has enjoyed a career spanning 4 decades with credits reading like the Rhythm 'N Blues Hall of Fame. Chavers sultry sax has propelled hits to the national charts three times with "Butter Beans", Fool Fool Fool, "Rock My Soul.

Elliott, arrived in Los Angeles in 1950 from Waco Texas to explore the Jazz scene. Finding "Jazz " a job and making a living was a complicated matter, as Elliott says in Texas all music is the same, in other words you played all styles from Jazz to Country to Western.

In order to survive he was called upon to join the Rhythm and Blues gigs, which he recorded over 100 records under his name. He was the Band Leader at the Infamous 5-4 Ballroom in Los Angeles during the entire 1960's/ He has performed with: Just to name a few: Sam Cooke, Clyde McPhatter, Lloyd Price, Jimmy McGriff, Roy Milton, Percy Mayfield, Jimmy Reed and many others.

Rockhouse

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Franco Cerri - Bossa With Strings

Bitrate: 320K/s
Time: 51:36
Size: 118.1 MB
Styles: Guitar jazz
Year: 2011
Art: Front

[6:00] 1. Samba De Uma Nota So
[4:10] 2. Estate
[5:19] 3. As Long As There's Music
[4:14] 4. Corcovado
[5:54] 5. Isínesi
[4:31] 6. Chega De Saudade
[5:50] 7. Bluesette
[3:54] 8. Desafinado
[2:37] 9. Voce E Eu
[3:56] 10. Garota De Ipanema
[5:08] 11. Lipae

Che splendida carriera quella di Franco Cerri! Dal suo esordio nel 1945 nellʼorchestra di Gorni Kramer, alle collaborazioni col Gotha del jazz mondiale (Django Reinhardt, Wes Montgomery, Stephan Grappelli, Chet Baker, Gerry Mulligan, Billie Holiday, Barney Kessel, Lee Konitz, Dizzy Gillespie…) il chitarrista milanese ha attraversato il jazz italiano con la sua faccia da bravo ragazzo, divertito e quasi stupito di sé stesso, con naturalezza e talento.

Questa sua nuova registrazione mostra tutta lʼoriginalità e la vitalità di un musicista curioso e mai banale. Eppure il progetto era rischioso, trattandosi di una rilettura di classici della bossa-nova (soprattutto composizioni di Jobim): da “Samba de uma nota so” a “Estate”, da “Corcovado” a “Chega de saudade”. Cerri affronta questo repertorio con una formazione inusuale che affianca al suo collaudato combo (Alberto Gurrisi allʼHammond, Salvatore Maiore al contrabbasso ed Enzo Carpentieri alla batteria) il quartetto dʼarchi italo/nippo/albanese “Time Piece”.

Il cd non corre certamente il rischio del “già sentito” o del “lounge-muzak”: gli arrangiamenti sono coraggiosi e sofisticati, scritti dallo stesso Cerri insieme a Oscar Del Barba, giovane arrangiatore di ottime frequentazioni accademiche.

Il jazz italiano può essere orgoglioso del contributo che Franco Cerri ha dato e continua a dare alla sua nascita e alla sua diffusione; speriamo che i tanti giovani che si affacciano sulla scena imparino la lezione del Maestro: rispettare il pubblico, divertirsi sempre, e amare la musica sopra ogni cosa.

Bossa With Strings

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Gretchen Parlato - The Lost And Found

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 62:31
Size: 143,7 MB
Art: Front

(3:46)  1. Holding Back The Years
(5:30)  2. Winter Wind
(5:24)  3. How We Love
(6:02)  4. Juju
(3:04)  5. Still
(6:14)  6. Better Than
(1:54)  7. Alô, Alô
(4:59)  8. Circling
(4:57)  9. Henya
(1:45) 10. In A Dream Remix
(3:17) 11. All That I Can Say
(3:23) 12. Me And You
(4:11) 13. Blue In Green
(4:39) 14. The Lost And Found
(3:19) 15. Without A Sound

Gretchen Parlato is emerging as the most important jazz singer since Cassandra Wilson. Her vocal approach is so unique and her repertoire so eclectic that she stands to create a jazz vocal genre unto herself. After placing first in the 2004 Thelonious Monk International Jazz Vocals Competition, Parlato released her eponymous debut, self-produced, in 2005. Warmly received, she followed her freshman effort up in 2009 with In a Dream (Obliqsound), her critical gravity growing. And those are just Parlato's recordings as leader. She has been a featured vocalist on many records, including David Binney's Greylen Epicenter (Mythology, 2010) and Esperanza Spalding's Chamber Music Society (Concord Music Group, 2010). Much anticipated, The Lost and Found appears, revealing Parlato's sonic evolution toward an end very different from Wilson's. Where Wilson has intently explored the earthy, organic nature of the music she sings, Parlato has entered the laboratory to distill her music to its bare essence: a whisper, a scent, an echo, a suggestion. Her light, no-pressure approach better reveals the harmonic metaphysics of the songs she sings, whether originals or standards.  

The Lost and Found draws much from her two previous releases. Parlato's Wayne Shorter fixation that prompted her to include the saxophonist's "Juju/Footprints" medley on her first recording, and "ESP" on In A Dream, reprises "Juju" alone on The Lost and Found. The fondness that Parlato has for impressionistic music manifests itself in her version of Miles Davis/Bill Evans "Blue in Green," and a cover of Simply Red's "Holding Back The Years," rendered as diaphanous mist, Parlato's light voice perfect for the role. The singer's reprise of "Juju," possesses a crystalline translucence, made acute by Dayna Stephens' wandering saxophone and pianist Taylor Eigsti's run-rampant sonic investigations. Her soft voice provides stark contrast to its support, making for an edgy affair all the way around. Lauren Hill's "All That I Can Say," a successful vehicle for Mary J. Blige, proves equally successful for Parlato, who imparts a lighter contemporary vibe to the song. Parlato is a young and vibrant artist, from whom we are only beginning to hear, and whose future is bright, indeed. ~ C.Michael Bailey  

http://www.allaboutjazz.com/the-lost-and-found-gretchen-parlato-obliqsound-review-by-c-michael-bailey.php#.U-_ji2OumE4

Personnel: Gretchen Parlato: vocals; Taylor Eigsti: piano; Derrick Hodge, Alan Hampton: bass; Kendrick Scott: drums; Dayna Stephens: tenor saxophone.

The Lost And Found

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Hank Mobley - Roll Call

Styles: Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 52:09
Size: 119,7 MB
Art: Front

(10:29)  1. Roll Call
( 6:04)  2. My Groove Your Move
( 5:24)  3. Take Your Pick
( 8:51)  4. A Baptist Beat
( 6:45)  5. The More I See You
( 4:53)  6. The Breakdown
( 9:40)  7. A Baptist Beat

From the first moment when Art Blakey comes crashing in to establish a kinetic Latin groove on the eponymous opening song, Hank Mobley's Roll Call explodes with energy. The first horn heard here is actually Freddie Hubbard's trumpet, foreshadowing the prominent role that he would have in the sound of this album. The quintet all work together flawlessly here, but Hubbard particularly shines as he plays off of Mobley's fluid riffs and carries more than a few lines himself, sounding particularly athletic and effortless on the closing track, "The Breakdown." Mobley's performance throughout the recording is stylish without being restrained, and the strength of his songwriting shines on five of the album's six songs. A warm, laid-back, sweet version of "The More I See You" is also included, with a muted Hubbard sounding very much like Miles Davis. It is a nice complement to this collection of originals, which has often been overshadowed by Mobley's other late-'50s and early-'60s work but is definitely deserving of some attention of its own. ~ Stacia Proefrock  

http://www.allmusic.com/album/roll-call-mw0000651115

Personnel: Hank Mobley (tenor saxophone); Freddie Hubbard (trumpet); Wynton Kelly (piano); Paul Chambers (bass); Art Blakey (drums).

Roll Call

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